The MAN gets spooked a little by a breeze and an eerie supernatural sound.

MAN (continues)
You got till the count of 10, and you’d better come out or the belt’s coming off!
One …
Come on!

The MAN’s flashlight is flickering and dying. He hits it to try to get it to work again. The tractor/forklift suddenly starts to turn on. Its lights flip on.

MAN
Boys? (pause) Come on! This isn’t funny.

The tractor/forklift starts moving toward the MAN. He backs up, away from the tractor, but falls and lands on his back.

The tractor is still coming on; the MAN scrambles backward. The tractor continues to head towards him.

The MAN gets to his feet and keeps backing up, until he’s backed up against a wall. The forklift lifts as the tractor continues to advance towards him.

He screams, and the camera cuts to the exterior of the barn—where the forklift has pierced through the wall, and presumably impaled the man inside the barn.

ACT ONE

SUPERNATURAL [wings logo]
♪ Supernatural 9×07 ♪

«BAD BOYS»
TITLE CARD :
BAD BOYS

Supernatural 9×07

Original Air Date Nov. 19, 2013

SCENE – Bunker, Research Table.

Sam wanders into the research / library – nobody’s there but he looks around.

Starring

JARED PADALECKI

SAM
Dean?

JENSEN ACKLES

SAM (continues)
Kevin?

Guest Starring

BLAKE GIBBONS

SEAN MICHAEL KYER

Nobody else is in the room. SAM heads for some of the library bookshelves, and pulls a book off the shelves—The Marvelous Land of Oz by L. Frank Baum. (Other books on the shelf include Joseph Conrad’s Lord Jim. He picks it up, looks at it speculatively and with a sort of sense of anticipation, sits down to read it, opening it up to the beginning.

KARIN KONOVAL

DYLAN EVERETT

Cell phone starts buzzing; SAM looks annoyed.

ERIN KARPLUK

Co-Producer

CRAIG MATHESON

SAM sets the book aside and reluctantly gets up to get the phone.

Co-Producers

JERRY WANEK

SERGE LADOUCEUR

Producer

ROBBIE THOMPSON

He looks but doesn’t recognize the number.

Producer

TODD ARONAUER

SAM
Hello?

DEAN enters the room from behind (having presumably also heard the cellphone buzzing).

SAM
I’m sorry, there’s no, uh ˜ there’s no Dee-dawg, uh…

DEAN grabs the phone.

DEAN
I got it, I got it. (DEAN takes the phone.) Sonny, hey. (pause) So what’s up? (pause) Okay. (pause) All right. Yeah, just sit tight. I’ll be there as soon as I can. (pause) Yeah.

DEAN hangs up.

SAM
So, what was that all about, ‘Dee-dawg’?

Consulting Producers

BRAD BUCKNER

EUGENIE ROSS-LEMING

DEAN
You remember when we were kids that spring in upstate New York? Dad was on a rugaru hunt.

SAM
Yeah. Uh, y-you disappeared. Dad came back. You were gone. He shipped me off to Bobby’s for a couple months and went and … found you. You were lost on a hunt or something.

DEANTHAT’S what we told you. (as if Sam’s story refreshed his memory) Right.

Executive Producer

ADAM GLASS

SAM
I’m sorry? That’s what you told me?

Executive Producer

PHIL SGRICCIA

DEAN
Truth is, uh…

Co-Executive Producer

JIM MICHAELS

DEAN (continues)
I lost the food money that Dad left for us in a card game.

Created by

ERIC KRIPKE

DEAN (continues)
I knew you’d get hungry, so … I tried taking the five-finger discount at the local market and got busted. I wasn’t on a hunt. They sent me to a boys’ home.

SAM
A boys’ home, like a … reform school?

Written by

ADAM GLASS

DEAN
Yeah, more or less. It was a farm, and the guy who ran it – Sonny – he, uh, you know, he looked after me.

SAM
Wait. Does Sonny know what we do?

DEAN
Yeah. He’s good people. I gave him the number to the Bat Phone, and sounds like he’s got something in our wheelhouse.

Directed by

KEVIN PARKS

DEAN (continues)
So… Hey – you gonna be cool to do this, or are you too tired?

SAM
Uh, no. Yeah, I’m just, uh … I’ll be fine.

DEAN
And everybody’s okay with … heading out to the Catskills? (DEAN emphasizes «everybody» like he’s trying to reach through SAM’s skull to talk to EZEKIEL.)

SAM (looking bemused)
I am everybody.

DEAN
Yeah. Right. All right. Grab your stuff, and we’ll head out.

SAM
Hey, Dean … I mean, why didn’t you just tell me you went to a boys’ home?

DEAN
I don’t know. Uh, it was Dad’s idea. And then it just – you know, the story became the story. I was 16.

SCENE – Driving in the Impala

Sign for SONNY’S HOME FOR BOYS. DEAN pulls up and parks between some farm fields and a house.

SAM
You were here for two months and Dad couldn’t find you?

DEAN
Oh, no. He found me. He found me quick. But he left me here ’cause I lost our money.

Somebody is watching from an upstairs window.

SAM
You were 16. You made a mistake.

DEAN
Yeah. I made the mistake. (getting out of the car.) Look, I know how you think. None of this was Dad’s fault.

The person watching from an upstairs window is a small boy with glasses, clutching an action figure doll.

DEAN and SAM go to the front door and knock. A middle-aged woman, with a sweater and a large cross on a necklace, answers the door. She folds her arms and looks at them.

DEAN
Hi.

RUTH
What can I do for you boys?

DEAN
I’m Dean. This is my brother, Sam. We’re old buddies of Sonny’s.

RUTH
Prison buddies?

DEAN swallows, taken aback; SAM coughs.

DEAN
No. Uh … you mind telling him that we’re here?

RUTH, after a pause
I’ll go get him. (She turns around, then as they are about to follow her in, turns back to say: ) I just mopped this floor, so you take off those roach stompers.

SAM and DEAN look down at their boots and kick them off.

SAM (quietly, to DEAN)
Sonny’s an ex-con, huh?

DEAN
What, and we’re such angels? Trust me, he’s more than made up for it.

They enter the house. DEAN looks at the couch in the living room, and has a memory …

SCENE – FLASHBACK

A deputy sheriff, DEPUTY BILLY, wearing sunglasses, is talking to SONNY, a guy with large sideburns and a plaid shirt. They are in a living room with 16yo YOUNG DEAN sitting cuffed on a couch.

DEPUTY BILLY
Steven Hewlett caught him red-handed stealing up at his store.

SONNY
So what’d he take?

DEPUTY BILLY
Get this – peanut butter and bread.

SONNY looks at YOUNG DEAN assessingly, as he sits cuffed on the couch.

SONNY
Okay. And how about family?

DEPUTY BILLY
Well, his old man called. (YOUNG DEAN looks up.) Once he found out what happened, he said let him rot in jail. (YOUNG DEAN looks down at his knees.) Judge is off on a fishing trip. Boy’s too young to leave in County. So we thought it best he stay here till arraignment.

SONNY
I don’t see why not, man.

DEPUTY BILLY (taking off his sunglasses)
Appreciate it, Sonny.

SONNY (noting a black eye on DEPUTY BILLY)
Where’d you get the shiner?

SONNY
Come on, now! (loudly, to get their attention)
(then, more calmly:) Billy, I got this, buddy. It’s all right.

DEPUTY BILLY, calmer, leaves. YOUNG DEAN waves goodbye sarcastically.

SONNY
You shouldn’t do that, kid.

YOUNG DEAN
Yeah? Why? Because he’s a cop?

SONNY
Because when you make him mad, he leaves with the key.

YOUNG DEAN’s face falls, he holds up his cuffs, and shakes his head disgustedly. SONNY watches, with a tiny small on his face. Then he leans forward to pick up a paperclip from an ashtray on the coffee table.

SONNY
Eh, don’t sweat it.

Sitting in front of YOUNG DEAN, SONNY takes his cuffed hands to open up the cuffs. YOUNG DEAN’s forearms are bruised and red, as if bruised or abraded by bindings or ligature marks.

SONNY (noting the marks with concern)
Deputy do that? (YOUNG DEAN scoffs and shakes his head.) What, your old man? (YOUNG DEAN shakes his head no.) Well, then, how’d you get it?

YOUNG DEAN (turning back to SONNY, somewhat defiantly)
Werewolf.

SONNY looks at YOUNG DEAN for a long moment, realizing he’s not going to get a different answer from the kid.

SONNY
Okay.

SONNY turns back toward the cuffs, opening up them with the paperclip, and removing them. SONNY stands up and starts walking out of the room. Freed, YOUNG DEAN stands up too, shaking his hands.

DEAN
So, how do you know I won’t just run away?

SONNY
Because you’re hungry.

YOUNG DEAN
No, I’m not.

SONNY
Well, then, why’d you steal bread and peanut butter?

YOUNG DEAN shrugs.

YOUNG DEAN
So, what is this place, anyway?

SONNY
It’s for boys like you. You work the land. Teaches you some discipline and responsibility. Keep you out of trouble.

YOUNG DEAN
(laughs)
That’s lame.

SONNY
Beats jail. Come on. I’ll fix you something to eat.

SCENE – PRESENT DAY

Back to present day. DEAN is smiling slightly. SONNY walks in. He’s wearing glasses, has his hair pulled back in ponytail.

DEAN
All right. You think you can round up the boys while we take a look around?

SONNY
Well, that shouldn’t be a problem. Most are home on break – well, except those with no home worth going to.

DEAN
Mm.

SONNY walks out of the room.

DEAN (to SAM)
All right. Why don’t you take the house? I’ll check out the barn.

SAM
Yeah.

SCENE – upstairs

SAM walks into a bedroom. It’s completely quiet. He notices a bed with some occult symbols notched on the bedpost. Pulls off several layers of taped name labels (KEVIN P. … DARRYL … another … another …) to reveal one that says DEAN W. He looks at it and marvels at seeing a piece of DEAN’s past that he never knew about.

He hears a sound, draws a knife, and starts walking toward the open door of the adjoining room …

to reveal RUTH, on her knees, praying. She rises suddenly, alarmed.

SCENE

SAM
Hey. I am so sorry. I-I-I thought I … saw something in, uh –

RUTH
Like a ghost? (She sounds more human and pleasant for the first time, and looks at the window.)

SAM looks at her, as if to say why would you think that? or how do you know that? RUTH looks down for a moment.

RUTH
Sonny told me you were old friends, but … I know why you’re really here. That’s why I was praying for us.

SAM
Praying for what?

RUTH (smiles slightly)
For the ghost that haunts this farm to leave.

SCENE – barn

DEAN opens and shuts the barn door. Pigeon sounds. He walks through the shadowy light and whips out his old EMF detector which makes a «wheee–oooo» chattering sound.

DEAN
All right, Casper… Where’re you at?

DEAN puts the EMF back in his pocket. He hears a noise … a kid’s voice … and walks toward it, opening another door to a dim room.

DEAN calls out
Hello? (He reaches out to still a swinging lightbulb.) Anybody here?

DEAN whirls around to a sound. It’s the third kid, with glasses, seen earlier in the barn scene.

DEAN
Hey, kid, what are you doing in here by yourself?

Kid
Fighting monsters.

DEAN
What kind of monsters?

KID
All sorts, with Bruce the monster smasher. (The KID holds up his action figure doll.)

DEAN
Hm. Is that a cape? Little impractical for smashing monsters, huh? You know, you could choke—

DEAN
Let’s try that again. If you’re gonna be a man, you got to learn how to shake like one, okay? So give me your best Kung Fu grip. Good. (They shake again.) Now look me straight in the eye. Let me know that you mean business. Shake as hard as you can. (Shake again.) That’s it. You shake like that, you’ll be all right. (TIMMY smiles.) Hey, Timmy, did you know Jack who worked here?

TIMMY nods
MM-hmmm (he says, very quietly)

DEAN
What can you tell me about him?

TIMMY
He yelled a lot. He was yelling when he had his accident.

DEAN
How do you know that?

TIMMY
‘Cause me and the other boys were playing here when it happened.

DEAN
Did you see anything? (TIMMY shakes his head no.) Is there anything else about that night that you can remember, anything at all?

RUTH (to SAM)
I grew up in this town. I used to come up here as a little girl. The Wasserlaufs, Howard and Doreen – they used to own this farm back then. (View from above, as if someone is watching them.) My co-worker, Jack, may he rest in peace, he worked here as a farmhand. Howard was a nice man, but… Well, he’d get into that corn liquor, and … one night he got it into his thick skull that Jack and his wife, Doreen, were rolling around in the hay. It wasn’t true, but – but Howard’s paranoia got the better of him. He tried to kill them both. Jack got away, but Doreen…

SAM
He killed her?

RUTH
With a meat cleaver. Got life in jail. Which for Howard ended a year ago. He always swore he’d get his revenge on poor old Jack, and … looks like he finally got it.

SAM
Is Howard buried here in town?

She looks at him.

SCENE – digging up a grave, nighttime of course!

SAM
So … Dad didn’t want you to tell me. How come? Was this place really so bad?

DEAN
I don’t really remember. I mean, look, nobody bad touched me. Nobody burned me with their smokes, or beat me with a metal hanger. I call that a win.

SAM laughs a little.

DEAN hits something hard with his shovel.

DEAN:
Hey.

SAM and DEAN open up the coffin to reveal a corpse. They pour salt over it, liberally.

DEAN (sighs)
All right. Let’s barbecue old MacDonald here, get the hell out of Dodge.

They toss a light, stand and watch.

SCENE – Impala, daytime

It’s daytime, and the IMPALA is on the road – driving, we presume, away from SONNY’s.

SCENE – Sonny’s

♪ Ave Maria ♪ ♪ Ave Maria ♪

«Ave Maria» is playing on an old-fashioned radio. We see the outside of SONNY’s, then inside, in a bathroom. RUTH’s cross is draped on the sink. RUTH is relaxing in the bath listening to «Ave Maria». The lights start flickering but RUTH doesn’t notice because she has a washcloth over her eyes. A frost forms on the mirror, and RUTH’s breath suddenly is visible, indicating a sudden chill. The shower curtain slides on its rings, and then falls over RUTH’s face.

RUTH is struggling and screaming, trying to peel the shower curtain off her face.

RUTH
Help! Help!

SONNY knocks on the bathroom door.

SONNY
Ruth, you okay? What’s wrong?

Flashing between RUTH being murdered in the bath, and SONNY banging on the door to get in, and the volume on the radio going up. The close-up of RUTH’s face through the shower curtain is really grotesque. Her hand rigidly grasps the side of the bathtub, then relaxes … with a splash into the bathtub.

SONNY
Open up!

SONNY
Ruth!

♪ Ave Maria ♪ ♪ Ave Maria ♪

ACT TWO

SCENE – Cus’s Place

Daytime, exterior of restaurant «CUS’S PLACE: HOME STYLE MEALS»

DEAN and SAM are sitting at a table. DEAN, with a sly smile on his face, is watching the waitress who is at the counter, laughing with some other customers.

SONNY
No prob. I do this for all the boys after they’ve been here for a month.

YOUNG DEAN
I meant for getting the charges against me dropped.

SONNY
Well, being hungry’s not a crime. It’s the stealing that is. But I feel if you only do that once, you don’t deserve a record. And seeing as how we can’t find your pops anywhere, you can stay here as long as you want, Dean. You’re doing good in school. You’re making friends. You made the wrestling team. I’m proud of you. (pause) Let me ask you something, and I want you to be straight with me. Are you into the whole heavy-metal, devil-worshiping stuff?

YOUNG DEAN
What? No.

SONNY
Hey, I’m not – I’m not judging. It’s just I found a few occult-looking symbols carved into your bedpost.

YOUNG DEAN
(sighs) It’s a very long story.

SONNY
That story have anything to do with why you put the salt in front of your bunk door every night before bed?

YOUNG DEAN
Well, it’s a family thing, so I can’t really talk about it.

SONNY
Same family that left you here?

YOUNG DEAN is speechless.

SONNY (continues)
(laughs) What are you – what are you, in the mob or something?

YOUNG DEAN
More like something. (looks back down at his menu)

SONNY
I was part of this gang, right? They were my family. I lived, breathed, I would have even died for them. You know where it got me? 15 years in a correctional facility. And for what? Being loyal? To who? I should have been loyal to myself. Because you get one shot at this game, Dean, and when you look in the mirror, you want the guy looking back at you to be his own man.

ROBIN
Uh, look, I’m a little bit slammed right now. Do you guys want to hear the specials?

DEAN (looking hopeful)
Robin … Dean Winchester.

ROBIN
Um …

DEAN
I used to live up at Sonny’s.

SAM is watching with interest.

ROBIN
Oh, oh. Uh, look, sorry. There’s just – there’s so many boys that pass through there, it’s – it’s hard to remember every – every name and face.

DEAN
Yeah. Uh, no. Sorry, I just – I remember you coming up there with your mom. She’d give guitar lessons. It’s, uh – it was a long time ago.

ROBIN
Yeah. Mom – she loved helping out the boys. I guess that’s why I kept giving lessons after she passed.

ROBIN clears her throat. There’s an awkward silence.

ANOTHER WOMAN
Hey, Robin?

ROBIN
Um, would you excuse me? I’ll be right back.

SAM
Dude …?

DEAN (suddenly getting up)
Let’s go.

Seconds later they’re outside walking to the IMPALA.

SAM
Wh – what was that?

DEAN
Nothing.

SAM
Nothing? Well, obviously it was something. Who was that waitress?

DEAN
I said it was nothing, all right? Drop it.

DEAN’s phone is ringing; he picks it up.

DEAN
Sonny. (pause) What?!

SCENE – Sonny’s

Outside. Door on the COUNTY CORONER’s van slams shut. Police car is behind it. Police radio is chattering. Camera pans over to DEAN, SAM, and SONNY, watching.

SONNY
I tried to get in to save her, but the damn door wouldn’t open.

SAM
Locked?

SONNY
There’s no locks on the farm.

DEAN sighs.

DEAN (to SAM)
That means our little field trip to the cemetery was a bust. Sonny, is there anything else weird you can remember?

SONNY
What, ’cause we’re not chest-deep in weird already, boys?

DEAN
I know, I know. I mean anything – really.

SONNY
There was one thing. Ruth always had her rosary beads with her, but now I can’t find them anywhere.

SAM
All right. Um, let’s start with the vics, okay? I mean, both lived in the house. They both, uh, worked closely with the boys.

DEAN
All right, why don’t I go have a chat with the rug rats, see what’s up? (Dean walks off)

SAM
Yeah. Sonny, you got any employee records on the victims?

SONNY
In my office. Let’s do it.

SCENE – outside

DEAN walking around the house. He hears some kids talking.

KID 1
Come on, whatcha gonna do about it? You gonna cry?

KID 2
Timmy, you’re such a little weirdo.

DEAN picks up his pace to intervene.

DEAN grabs KID 1, previously in the red sweatshirt kid and now in a camouflage pattern shirt; KID 2, previously in a plaid flannel shirt and now in a dark t-shirt, is pushing up against TIMMY against the side of the house.

DEAN
All right, you two. Where were you this morning when Ruth had her accident?

KID 1
Unless you’re a cop, we don’t need to tell you anything.

DEAN
Oh, okay. Well …

DEAN pulls an ID out of his pocket.

DEAN (continuing)
… How about that? (he shoves an FBI badge in each of their faces)

KID 1
We weren’t even here this morning. Sonny sent us into town to get some chicken feed – we swear.

DEAN
What about Ruth? What can you tell me about her?

KID 2
Uh, we used to call her the warden. She was a real Bible-thumping hard-ass.

KID 1 nods.

DEAN
Obviously. What else? Anything different or weird you can think of?

KID 1
You mean besides Timmy?

Both kids laugh. TIMMY looks sad.

DEAN
Hey! (lower voice:) Either of you touch him ever again, I’m gonna go all Guantánamo on you. (KID 2 swallows.) Understand me? You get the hell out of here. Go on! Get.

DEAN gestures irritably and the kids scurry off. DEAN turns back toward TIMMY who is watching the bigger kids go.

TIMMY steps forward to pick up his doll/action figure. DEAN gives him a hand up.

DEAN
Hey. You and Bruce okay?

TIMMY
Yeah.

DEAN
Listen to me. Guys like that – they’re cowards, okay? All you got to do is stand up to them one time and they’ll stop, I promise.

TIMMY (looks down)
Okay.

SCENE – inside

SAM and SONNY are walking briskly through the house. SAM stops, seeing something.

SAM
Hey Sonny, wait. Um … W-what is all this?

SONNY
It’s our hall of fame. We had some pretty great athletes come through here, including your brother. (SAM exhales.) He was Sullivan county 135-pound wrestling champion. (SAM exhales again.)

SCENE – KID 2 is mowing and KID 1 is raking

They’re being watched from above, from a window.

Horn honks. Car drives up. Boys turn to see ROBIN getting out of car, with a guitar case.

ROBIN
Hey, guys!

KID 2
She could give me a lesson anytime.

KID 1
Gross. She’s like ancient.

KID 2 turns back to the lawnmower. It seems to pick up a rock, or something causing it to make a strange sound.

KID 2
What the hell?

KID 2 grabs the lever to turn it off. He tilts it on its side. We see that the underside has RUTH’s cross caught up in the mechanism. KID 1 comes over to look.

KID 2
What’s this doing in here?

KID 1 shrugs and shakes his head. KID 2 reaches his hand in cautiously and starts pulling out grass, and trying to pull off the cross necklace.

The view from the window above has ghostly noises. We see TIMMY standing in the window clutching his doll/action figure.

Below, KID 2 is still working with the lawnmower.

The camera pauses on the red power lever for a moment. KID 1 watches to see what happens. The camera pauses on the red power level – which flips. The engine turns over.

KID 2 screams; blood sprays out over KID 1, who tries to help his friend; KID 2 falls over; the lawnmower continues to run.

The camera pans over to TIMMY in the house. A hand clasps him on the shoulder – a hand with what appears to be strange markings, tattoos or scarring.

ACT THREE

SCENE

Open on someone reviewing a file about TIMMY. DEAN walks in.

DEAN
Kid’s gonna need about 8,000 stitches, but he’ll be fine.

SAM
That kid was bullying Timmy before the accident, right?

DEAN
Yeah. Why?

SAM
Check this out. (handing DEAN the file) Timmy was found in an abandoned building about a year ago all by himself. No one was sure how long he had been there.

DEAN
And what about his parents? (tosses file back to SAM)

SAM
Well, they posted a picture on the Internet, but no one ever showed up.

DEAN
Well, then, what’s he doing here? Shouldn’t he be in an orphanage?

SAM
He kept running away from Child Services. So about three months ago, Sonny offered to take him in.

DEAN
All right, so hard-ass counselors, bullies, all bite the dust, but Timmy’s still standing. So, what are we talking? We got ourselves a Damien on our hands?

SAM
No. EMF rules out a demon. So … probably ghost possession.

DEAN
Meaning what, we find Timmy and shove a fistful of salt down his throat, forced ejection?

DEAN sighs, points at SAM
You’re taking the barn this time.

DEAN turns around and heads out. SAM sighs, taps the folder.

SCENE – barn

Chains rattling. SAM walks into the barn. Cows low. SAM opens the same door where DEAN found TIMMY. Pigeons coo. SAM looks up, sees the rafters, a trapdoor; goes up a ladder. Upstairs, he looks around; pulls out a flashlight. Sees a child’s drawing on a wall. The drawing shows a happy family. Then shows a car driving, with «YMMOM» (MOMMY spelled backwards); then shows a car crash; flames; mom putting TIMMY outside the car.

SCENE – inside

DEAN is walking around, hears guitar; walks to room and sees ROBIN on the couch, playing guitar.

SCENE – FLASHBACK

YOUNG ROBIN is playing the guitar. YOUNG DEAN is sitting beside her. She plays a few chords and they laugh.

YOUNG ROBIN
So, you’ve been a lot of places?

YOUNG DEAN
Yeah. My, uh … My dad likes to move around a lot.

YOUNG ROBIN
What’s your dad do?

YOUNG DEAN
(pauses)
Boring stuff.

YOUNG ROBIN
Do you like it?

YOUNG DEAN
shakes his head NO
No, not really. But my dad expects me to follow in his footsteps. So I’ve kind of gotten used to it.

He seems resigned.

YOUNG ROBIN
Yeah. I – I get it. My pops wants me to take over the diner? But that’s not happening. So, what do you really want to do?

DEAN hesitates.

YOUNG ROBIN (continues)
I want to be a photographer and see the world, go to strange lands, eat crazy food.

YOUNG DEAN
(takes a breath)
I want to be a rock star, but… I also really like cars.

YOUNG ROBIN
Being a mechanic seems rough.

YOUNG DEAN
What? No, no. Not at all. Cars are freaking cool as hell. Fixing them is like … a puzzle, and the best part is when you’re done, they leave, and you’re not responsible for them anymore.

YOUNG ROBIN leans in to kiss him. He seems shocked.

YOUNG ROBIN
Have you kissed many girls?

YOUNG DEAN
What? (whew) Yeah. Of course. Lots.

YOUNG ROBIN
Really? (she grabs his collar) Well, I guess we’ll just have to keep practicing.

She pulls him in for another kiss.

camera pulls out to show DEAN standing in the doorway, staring at the couch, reliving that moment; then

SCENE PRESENT-DAY

ROBIN looks up, sees DEAN.

ROBIN
Oh. Hey. Uh, what happened to you at the diner? I turned around to take your order, and you were just … gone.

DEAN
Long story. Um, have you seen Timmy?

ROBIN
No, not yet, but he should be here any minute for his guitar lesson.

DEAN
Yeah, we’re gonna cancel that.

ROBIN
What?

DEAN
We got to get out of here, okay? I don’t have time to explain. You just got to trust me.

ROBIN
T-trust you? (scoffs) (sighs) And why would I do that again?

DEAN
You do remember me!

ROBIN (softly)
How could I forget?

SCENE – FLASHBACK

YOUNG DEAN and YOUNG ROBIN kissing on the porch swing

♪ I do recall ♪ ♪ those were the best times, most of all ♪ ♪ In the heat with a blue-Jean girl ♪

She puts a hand to his chest.

YOUNG DEAN
What’s wrong?

♪ Burnin’ love comes once in a lifetime ♪

YOUNG ROBIN
I just hope this lasts.

YOUNG DEAN
I’m not going anywhere, Robin.

YOUNG ROBIN
Yeah, says you.

YOUNG DEAN
Well, I can’t.

♪ Those summer nights are callin’ ♪

YOUNG DEAN (continues)
Who else would take you to the school dance?

♪ Stone in love ♪

YOUNG ROBIN
Is this your way of asking me to be your date, Dean Winchester?

YOUNG DEAN
Yeah. How am I doing so far?

She laughs.

♪ Stone in love ♪

SCENE – PRESENT DAY

DEAN looks upset.

DEAN
There were – there were reasons why I had to leave. I don’t have time to explain them to you right now. I got to get you out of here.

He comes over to the couch, grabs her by the hand, pulls her up and out of the room.

ROBIN
Hey! What are you doing?!

TIMMY
I’m sorry.

DEAN whirls around, with ROBIN, to see TIMMY.

DEAN
Sorry about what, Timmy?

TIMMY
I can’t stop it.

A vase shatters against the door. ROBIN and DEAN flinch; he yells «ahhh!» and she screams.

DEAN
Go, go, go!

DEAN grabs her by the arm and pushes her to another room. Vases are flying in the air crashing against walls. DEAN grabs a fireplace poker. A lamp picks up and flies over their heads; they duck.

SAM is coming in through an open door that they’re heading toward. They duck another lamp, SAM enters,

DEAN
Sam, go!

SAM whirls around but the door slams shut before he can get to it.

DEAN
Locked. Damn it!

ROBIN gasps. DEAN runs to kitchen cabinet and grabs a box of salt, tosses it to SAM.

DEAN whirls around to see TIMMY standing in the doorway with his action figure doll.

TIMMY
I can’t control her.

DEAN
Can’t control who?

SAM (stepping forward)
Your mom, right?

SAM puts down the salt and comes over to TIMMY.

SAM (continues)
Timmy, listen. We need you to tell us about the fire, okay?

Camera pans over Timmy’s drawings, as he retells his story in voiceover:

TIMMY
It was late, and we were driving home when we crashed in the woods. Everything was on fire. But she saved me, pushed me out… (in the memory we can hear her cries) Before the car blew up… with her in it.

SAM
But that’s not all, was it?

TIMMY
I ran through the woods. I found an empty building, where I hid. I was scared. It was dark and cold. So I cried. I cried for my mom. And then she came.

A figure flickers in the kitchen near the refrigerator … it’s a woman with blonde hair, horribly burned.

SAM (continues)
…I’m gonna need that action figure.

The spirit attacks SAM and throws him against the wall. DEAN swings the iron poker through the figure which dissipates. DEAN grabs the action figure doll from TIMMY, and puts it on the oven, turning the gas burner on.

TIMMY
No!

TIMMY watches in despair. SAM grabs TIMMY and puts him in the circle of salt with ROBIN, who holds him protectively. DEAN stands by the stove, watching the doll burn.

ROBIN, disbelieving, turns to leave – and turns into the ghost of MOM who has suddenly appeared. GHOST MOM makes a gesture and DEAN goes flying backwards into a wall. GHOST MOM clenches her fist, and DEAN clutches his heart in pain. ROBIN watches in terror.

ROBIN
I mean, I always thought that I would hate being in the same little town my whole life, and, you know, taking over the diner like Dad always wanted, but … I don’t. I just – I love it.

DEAN
I guess we didn’t know everything we thought we did at 16, huh?

ROBIN
Not everything. Just some things.

ROBIN stands up to kiss him on the cheek. She walks to porch to be with TIMMY. DEAN waves to them both.
SONNY approaches DEAN.

SONNY
Sounds like Timmy’s gonna need some help adjusting.

DEAN
Yeah, but he’s got you.

SONNY
I always hate to see you go, Dee-dawg. (They clasp hands.) Can’t thank you enough for this one, man. (they hug.)

DEAN
Sonny, we’ll see you around.

SONNY
You can bet on that, boys. Take it easy, man.

SONNY and DEAN slap each other’s shoulders one last time, and SONNY walks off. DEAN and SAM are alone together at the IMPALA.

SAM
Hey, h-how did you know Timmy asking his mom to leave was gonna work?

DEAN
I didn’t. Total hail Mary. Got lucky.

SAM
You just got lucky?

DEAN nods.

SAM (continues)
Kind of like you did with this place. I mean, here I was thinking this was the worst part of your life, and it turns out it was the best. Why’d you ever leave?

DEAN
Never felt right.

SAM
Really?

DEAN
It was two months, Sam, okay? And I couldn’t wait to get out of here. I don’t know what to tell you. It wasn’t me.

SAM accepts this, sort of, and gets in the car. DEAN pauses to look back at the house for one last memory.

SCENE – FLASHBACK

YOUNG DEAN is fastening a tie, wearing a short-sleeve button down shirt.

SONNY enters.

SONNY
Oh, look at you. You clean up good!

YOUNG DEAN
Thank you. You know, uh … I’ve never actually been to one of these school dances before.

SONNY
Yeah. Look, about that, Dean, your old man’s outside …. and, man, he’s really something. I tried to tell him what a big night it was for you, Dean, and ask him if he could come back later, but he just said to tell you he had a job, said you’d know what that means.

YOUNG DEAN is nodding, looking emotional but trying to tough it out. He exhales, looks at picture of himself and YOUNG ROBIN, holding back tears. SONNY watches him.

SONNY (continues)
You know, after I got out of jail, this place gave me a second chance, and it’s done the same for you, too.

YOUNG DEAN nods.

SONNY (continues)
So if you want, I’ll stick my neck out for you, and I’ll fight for you to stay.

YOUNG DEAN, still speechless, is choking back tears. JOHN’s car horn honks outside. YOUNG DEAN goes to the window to look, and sees a very young-looking SAM holding a plane or spaceship out the window of the car. YOUNG DEAN laughs, choked-up, and turns back toward SONNY, holding out his hand. There’s a tear trickling out his eye as they shake hands.

YOUNG DEAN
Sonny… …thank you – for everything. But I have to go.

YOUNG DEAN and SONNY embrace.

SCENE – PRESENT DAY

DEAN gets into the IMPALA.

SAM
Dean … Thank you.

DEAN
For what?

SAM
For always being there, for – having my back. Look, I know it always hasn’t been easy …

DEAN
I don’t know what the hell you’re talking about.

DEAN starts the car. SAM shuts his car door. They drive off into the night.